Sena Şener - Ölsem - Chord

Key Gb major – Eb minor Chords Ebm, B, Bb, Abm, F#, D, Db Easy key C (capo 6)

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Capo 0

Ebm                  B
Düşmüşüm ben bir kuyuya
           B   Bb  F#  Abm
Bakma öyle gel ya  nı  ma
         Ebm  D  Ebm 
Dünya güzel
                  B
Aklamam hiç günahımı
            B   Bb  F#  Abm        Ebm  Bb
Koy masaya, vur yü  zü  me ölmek güzel

Ebm
Söylenen hep yalanken
D
Ne baba ne dost sorarken
B
İstemem hiç sevme beni
Abm       Bb
Ben henüz gençken

      Ebm               B
Kalbimden nefreti, aklımdan geçmişi
      Abm                   Bb
Sırtımdan o yükleri, al bu gece
Abm              Ebm
Ölsem de gitsem, kalmak ne zor, ah
Db           B       Abm    Bb
Hiçbir şey bilmeden, ölsem, ölsem

Ebm                   B
Sürmüşüm ben, hep yokuşa
              B   Bb  F#  Abm
Kimse yokken, tek ba  şı  na
         Ebm  D  Ebm
Dünya güzel
                  B
Aklama hiç vicdanını
           B   Bb   F#  Abm          Ebm  Bb
Çek acını, göm bağ  rı  na, dünya değmez

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Sena Şener - Ölsem Tabs

NotesX

Harmony analysis

Sena Şener – Ölsem: key and chord analysis

The song opens on Ebm and ends on Bb. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.

Major view

Gb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F (leading tone, pulls home)
4 = Cb (the note that leans on the 3rd)

Minor view

Eb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Cb (the minor's melancholy)
b7 = Db (natural-minor colour)
#7 = D (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Eb minor side because it opens on Ebm, Ebm is heard 11 times against 4 for Gb and the major V chord points straight at Ebm. That is an interpretation, not a rule — the same chords are just as valid seen from Gb major, and switching between the two views is exactly where the practice value lies.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Gb or to Ebm; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	F#	Tonic — home	F# · A# · C#	4×
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	8×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	9×
IV	B	Subdominant — moves away from home	B · D# · F#	11×
V	Db	Dominant — strongest pull home	Db · F · Ab	1×
bVI	D	Borrowed from the parallel minorborrowed chord	D · F# · A	3×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	11×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	11×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	F#	Relative major — the bright side	F# · A# · C#	4×
iv	Abm	Subdominant — moves away from home	Ab · Cb · Eb	8×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	—
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	9×
VI	B	Submediant — warm colour	B · D# · F#	11×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	1×
#VII	D	Chromatic colour chordoutside the key	D · F# · A	3×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 7 different chords appear 47 times in total; 5 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Gb, the same Bb is V/vi, a secondary dominant heading for Ebm. D is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Abm Ebm Gbii → vi Ebmiv → iminor plagal ×5
Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×3
Abm Bb Gbii → V/vi Ebmiv → Viv → V ×3

The move to watch is Abm → Ebm, heard 5 times. From the Ebm side it is iv → i (minor plagal: deep and melancholic); from the Gb side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
When Bb comes, swap the scale's Db for D: that single note is the harmonic-minor sound of the chord.
On D, follow the chord's notes (D · F# · A) rather than the key's scale — it's a borrowed colour.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With Gb major shapes

Capo 2 + E shapes
Capo 4 + D shapes
Capo 6 + C shapes

With Eb minor shapes

Capo 1 + Dm shapes
Capo 6 + Am shapes

Easiest keys on guitar

6 semitones up · capo 6 keeps the original pitch
1 semitone up

The song's harmonic story

The first chord is Ebm; the ear learns where home is within a second. Ebm, B, Bb, Abm carry the song: vi–IV–V/vi–ii relative to Gb, i–VI–V–iv relative to Ebm. Bb is the interesting twist: in Gb it is a chromatic chord (V/vi), while in Ebm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Abm → Ebm (ii → vi in Gb, iv → i in Ebm): minor plagal — deep and melancholic. The final chord is Bb; the ear comes to rest in Gb.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.